Julie Bertuccelli • Director, president of SCAM and patron of SAA
"Without copyright, I would be the first person to have to change jobs"
- We met up with director, president of SCAM and patron of SAA Julie Bertuccelli at Cannes, where she was promoting a new study into the equitable remuneration of content creators
Julie Bertuccelli is known for her remarkable fiction films (Since Otar Left and The Tree [+see also:
interview: Julie Bertuccelli
film profile]), her documentaries (School of Babel [+see also:
film profile] and Latest News from the Cosmos [+see also:
film profile]) but also for her commitment to supporting content creators, given that she chairs the Civil Society of Multimedia Authors (SCAM) and is one of the patrons of the Society of Audiovisual Authors (SAA). Cineuropa met up with her at Cannes, where she was committed to promoting new research into the equitable remuneration of content creators, commissioned by the International Confederation of Societies of Authors and Composers (CISAC) and Writers & Directors Worldwide (W&DW) and promoted by SAA. At Cannes, she sought to convince MEPs of the need to introduce a right to remuneration for audiovisual content creators for the use of their content into the copyright directive in the digital single market that is under discussion right now in the European Parliament.
Cineuropa: what are the main proposals to emerge from the study you sponsored?
Julie Bertuccelli: The study shows that the most effective way to ensure that audiovisual content creators receive equitable remuneration is by including remuneration rights in the law and entrusting them to collective management organisations.
There needs to be some sort of harmonisation at a European level. Content creators need to be paid outside of their own countries if the work they have created is distributed in other European countries. Our proposed legislative solution complies with international and European copyright obligations.
This solution would benefit all parties involved in audiovisual production and exploitation, ensuring a constant flow of remuneration from users to content creators.
Who did you meet with at Cannes?
I met with Mariya Gabriel, European Commissioner for the Economy and Digital Society, as well as Evelyne Gebhardt, Vice-President of the European Parliament. I explained my point of view, namely the need to agree on a European text to protect the copyright and remuneration of content creators. The fair remuneration of content creators must be integrated into the copyright directive currently being negotiated in the Council and in the European Parliament. I insisted on the need to start a dialogue with the major content distribution platforms. In France, SCAM negotiates with YouTube and Netflix. It's not just these giants that pay for the creation of content in France, but they contribute to paying content creators. If it can work in France, it must be able to work elsewhere. But for the system to work, it needs to be included in European law, that is to say the directive. Everyone envies the French system, why not export it elsewhere?
Have you encountered resistance at the European Institution and Member State level?
Not really, I would say that everyone agrees on the principle of remunerating content creators, but we also need to explain how the system works – it needs to be pedagogical. States aren’t necessarily against it, but they are in a conservative position with regard to the Commission's draft text. They must be pushed to empower collective management companies to negotiate with the video-on-demand platforms for this remuneration to be effective.
What are the next steps?
The next step is for content creators to attend Strasbourg on 29 May. I will be in attendance with Costa-Gavras, the musician Nacho Garcia Vega, the actor Hans Werner Meyer and representatives from numerous organisations (the Association of European Performers' Organisations - AEPO-ARTIS, la the International Federation of Actors - FIA, la the International Federation of Musicians and International Artists Organisation - FIM, la the Federation of European Film Directors - FERA, the Federation of Screenwriters in Europe - FSE and the Society of Audiovisual Authors). We will explain the issue to MEPs, a topic they don’t necessarily know much about. This step is very important given the vote of the European Parliament's Legal Affairs Committee on 21 June. We are hopeful that our point of view will be taken into account.
Copyright has not prevented the distribution or circulation of content. Without copyright and fair remuneration, I would be the first person to have to change jobs!
(Translated from French)
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